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"content": "\u003cp style=\"padding-left: 30px\">Marc Bamuthi Joseph is back as co-host on The Do List this week. He’s the chief of program and pedagogy at Yerba Buena Center for the Arts, and also a dancer, poet, and opera librettist. We talk about the San Jose Jazz Winter Fest, some classic plays at Ubuntu, SF Playhouse and the Aurora, and a special \u003cem>Black Panther\u003c/em> double bill. You can feel the show just lift off when Marc talks about why art matters. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 15-28: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/stars-come-out-to-play-at-san-jose-jazz-winter-fest/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winter Fest lights up San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 11:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/1832991043409977/\" target=\"_blank\" rel=\"noopener\">Jon Santos explores the sacred roots of Latin jazz at a Sunday concert in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/new-steps-for-a-classic-ballet-featuring-aaron-coplands-music/\" target=\"_blank\" rel=\"noopener\">The San Francisco Ballet showcases Justin Peck’s new take on Aaron Copland’s \u003cem>Rodeo\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 23-March 10:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/post-wwii-play-born-yesterday-feels-relevant-today/\" target=\"_blank\" rel=\"noopener\">The post-war play\u003cem> Born Yesterday\u003c/em>, about corruption in Washington, feels especially relevant today\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 2-25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/a-streetcar-line-divides-the-genders-and-classes/\" target=\"_blank\" rel=\"noopener\">A \u003cem>Streetcar Named Desire\u003c/em> made for the streets of Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26-March 4:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/when-moral-principles-lose-out-to-love/\" target=\"_blank\" rel=\"noopener\"> GB Shaw’s first play is an indictment of capitalism and a moral tale about moral principles bowing to love\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20-21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/shabazz-palaces-marries-afrofuturism-with-hip-hop/\" target=\"_blank\" rel=\"noopener\">Shabazz Palaces bring their blend of Afrofuturism and hip-hop to San Jose and Noise Pop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20:\u003c/strong>\u003ca href=\"https://www.eventbrite.com/e/ta-nehisi-coates-and-film-screening-of-marvels-black-panther-tickets-42285828050\" target=\"_blank\" rel=\"noopener\"> A literary double bill pairs Ta-Nehisi Coates and the new film \u003cem>Black Panther\u003c/em> at the Grand Lake Theater\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14: \u003c/strong>\u003ca href=\"https://oakland.impacthub.net/event/the-power-of-radical-self-love-book-tour-launch-party-with-sonya-renee-taylor/\" target=\"_blank\" rel=\"noopener\">Sonya Renee Taylor reads from her new book \u003cem>The Body is Not an Apology: The Power of Radical Self-Love\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 21:\u003c/strong> \u003ca href=\"https://calperformances.org/performances/2017-18/berkeley-talks/tony-kushner-and-sarah-vowell-the-lincoln-legacy-the-man-and-his-presidency.php\" target=\"_blank\" rel=\"noopener\">Tony Kushner and Sarah Vowell talk about American and Hollywood history, Lincoln, and assassinations at Cal Performances\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13823952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823952\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-800x380.jpg\" alt=\"Marc Bamuthi Joseph and Cy Musiker in the studio at KQED\" width=\"800\" height=\"380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-800x380.jpg 800w, 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https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-240x114.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-375x178.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-520x247.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marc Bamuthi Joseph and Cy Musiker in the studio at KQED. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp style=\"padding-left: 30px\">Marc Bamuthi Joseph is back as co-host on The Do List this week. He’s the chief of program and pedagogy at Yerba Buena Center for the Arts, and also a dancer, poet, and opera librettist. We talk about the San Jose Jazz Winter Fest, some classic plays at Ubuntu, SF Playhouse and the Aurora, and a special \u003cem>Black Panther\u003c/em> double bill. You can feel the show just lift off when Marc talks about why art matters. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 15-28: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/stars-come-out-to-play-at-san-jose-jazz-winter-fest/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winter Fest lights up San Jose\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 11:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/1832991043409977/\" target=\"_blank\" rel=\"noopener\">Jon Santos explores the sacred roots of Latin jazz at a Sunday concert in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/new-steps-for-a-classic-ballet-featuring-aaron-coplands-music/\" target=\"_blank\" rel=\"noopener\">The San Francisco Ballet showcases Justin Peck’s new take on Aaron Copland’s \u003cem>Rodeo\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 23-March 10:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/post-wwii-play-born-yesterday-feels-relevant-today/\" target=\"_blank\" rel=\"noopener\">The post-war play\u003cem> Born Yesterday\u003c/em>, about corruption in Washington, feels especially relevant today\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 2-25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/a-streetcar-line-divides-the-genders-and-classes/\" target=\"_blank\" rel=\"noopener\">A \u003cem>Streetcar Named Desire\u003c/em> made for the streets of Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26-March 4:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/when-moral-principles-lose-out-to-love/\" target=\"_blank\" rel=\"noopener\"> GB Shaw’s first play is an indictment of capitalism and a moral tale about moral principles bowing to love\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20-21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/07/shabazz-palaces-marries-afrofuturism-with-hip-hop/\" target=\"_blank\" rel=\"noopener\">Shabazz Palaces bring their blend of Afrofuturism and hip-hop to San Jose and Noise Pop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 20:\u003c/strong>\u003ca href=\"https://www.eventbrite.com/e/ta-nehisi-coates-and-film-screening-of-marvels-black-panther-tickets-42285828050\" target=\"_blank\" rel=\"noopener\"> A literary double bill pairs Ta-Nehisi Coates and the new film \u003cem>Black Panther\u003c/em> at the Grand Lake Theater\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14: \u003c/strong>\u003ca href=\"https://oakland.impacthub.net/event/the-power-of-radical-self-love-book-tour-launch-party-with-sonya-renee-taylor/\" target=\"_blank\" rel=\"noopener\">Sonya Renee Taylor reads from her new book \u003cem>The Body is Not an Apology: The Power of Radical Self-Love\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 21:\u003c/strong> \u003ca href=\"https://calperformances.org/performances/2017-18/berkeley-talks/tony-kushner-and-sarah-vowell-the-lincoln-legacy-the-man-and-his-presidency.php\" target=\"_blank\" rel=\"noopener\">Tony Kushner and Sarah Vowell talk about American and Hollywood history, Lincoln, and assassinations at Cal Performances\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13823952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823952\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-800x380.jpg\" alt=\"Marc Bamuthi Joseph and Cy Musiker in the studio at KQED\" width=\"800\" height=\"380\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-800x380.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-160x76.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-768x365.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1020x484.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1920x911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-1180x560.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-960x456.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-240x114.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-375x178.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609-520x247.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Marc-Bamuthi-Joseph-and-Cy-Musiker-in-the-studio-at-KQED-e1518052628609.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marc Bamuthi Joseph and Cy Musiker in the studio at KQED. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>George Bernard Shaw’s first play, \u003cem>Widowers’ Houses,\u003c/em> was partly inspired by Shaw’s experience working as a rent-collector for a London slumlord. The play is a comic romance, but also a sermon on abusive landlords and tenants’ rights. \u003cem>Widowers’ Houses\u003c/em> earned Shaw plenty of boos at its premiere in 1892. While Shaw blames the slumlord Mr. Sartorius (who gets the best lines in the play) for the dangerous and dirty housing he provides to the poor, he also condemns the wealthy theater goers in the audience and city laws for their complicity. Dan Hoyle, famous for his solo shows \u003cem>Tings Dey Happen\u003c/em> and \u003cem>The Real Americans,\u003c/em> stars as Harry Trench, a doctor torn between love for his fiancee Blanche Sartorius (Megan Trout), and revulsion at the source of her income, her father’s slum empire.\u003c/p>\n\u003cp>“It’s a story about what happens,” Hoyle told me recently, “when you find out that the people you love have acquired their money through unjust means. And how do you reconcile with that. So really it’s about reconciling with capitalism.”\u003c/p>\n\u003cp>Details for Widowers’ Houses Jan. 26- March 4 at the Aurora Theatre in Berkeley are\u003ca href=\"http://www.auroratheatre.org/widowers-houses\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Actor John Mahoney, best-known for his portrayal of the grouchy and sharp-witted father of the title character in the TV show \u003cem>Frasier,\u003c/em> died Sunday. He was 77.\u003c/p>\n\u003cp>The Steppenwolf Theatre Company confirmed his death, saying in a statement, “John Mahoney passed away due to complications from cancer while in hospice care on Sunday.” \u003c/p>\n\u003cp>For 11 years, from 1993 to 2004, Mahoney played the blue-collar, retired-cop foil to Kelsey Grammer and David Hyde Pierce, his dandy and effete sons on the NBC hit show. \u003c/p>\n\u003cp>Over his career he earned two supporting-actor Emmy nominations and two Golden Globe Award nominations for his role as Martin Crane. On the stage, he won a Tony for his performance in a revival of \u003cem>The House of Blue Leaves \u003c/em>in 1986.\u003c/p>\n\u003cp>\u003ca href=\"http://www.chicagotribune.com/entertainment/theater/news/ct-ent-john-mahoney-dead-steppenwolf-frasier-20180205-story.html\">According \u003c/a>to the \u003cem>Chicago Tribune,\u003c/em> Mahoney, who was born in Manchester, England, and moved to the U.S. at 19, became a professional actor somewhat late in life. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It wasn’t until he was in his late 30s that he quit his job editing a medical magazine to study acting in Chicago. Shortly after that, he was invited to join Steppenwolf Theatre by founding members John Malkovich and Gary Sinise. At the time the young theater company was full of actors in their 20s and they needed somebody to play older roles. \u003c/p>\n\u003cp>“By the time I started my career, most people had given up and started selling insurance,” Mahoney told the \u003cem>Tribune\u003c/em> in 2004. “I didn’t have so much competition.” \u003c/p>\n\u003cp>Chicago Mayor Rahm Emanuel issued a statement Monday, mourning Mahoney’s death. \u003c/p>\n\u003cp>“John Mahoney was a fixture on the Chicago stage for over 30 years through countless award-winning performances,” Emanuel wrote. “Even as his fame grew through his fantastic work in movies and television, John stayed connected to his artistic home here in Chicago in theaters and as a member of the Steppenwolf Theatre Company. Though he will be missed, his work and impact will endure for generations to come.”\u003c/p>\n\u003cp>Mahoney’s film resume provides proof of the actor’s broad range and includes turns as the manager of the White Sox in \u003cem>Eight Men Out, \u003c/em>a lecherous professor in \u003cem>Moonstruck, \u003c/em>a protective father in \u003cem>Say Anything\u003c/em> and a dapper Southern author in \u003cem>Barton Fink. \u003c/em>\u003c/p>\n\u003cp>Most recently he appeared as Betty White’s love interest on \u003cem>Hot In Cleveland. \u003c/em>\u003c/p>\n\u003cp>Mahoney moved back to Chicago in 2004. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The city is almost like a person to me,” Mahoney said in an interview with the \u003cem>Tribune\u003c/em> at the time. “I can’t tell you why my heart is so full of Chicago, but it’s where I want to be. When I’m not here, I’m not as happy.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Frasier%27+Star+John+Mahoney+Dies+at+77&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>The South Bay’s Choral Project is celebrating Leonard Bernstein on his 100th birthday with a concert titled the \u003cem>Art of Sound,\u003c/em> featuring the serene and lovely \u003ci>Chichester Psalms.\u003c/i> This commission from Chichester Cathedral in England features music cut from Bernstein’s \u003cem>West Side Story,\u003c/em> but the highlight for me is “Psalm 23,” written for countertenor or boy singer, meant to sound like the voice of young King David.\u003c/p>\n\u003cp>In \u003ci>Psalms,\u003c/i> Bernstein is wrestling with his Jewish identity (which he did often). The lyrics are in Hebrew, and the text pulls the music toward optimism and hope. The chorus sings in the closing verses, \u003cem>“Behold how good, and how pleasant it is, for brethren to dwell together in unity.” Good advice for our partisan times. \u003c/em>\u003c/p>\n\u003cp>Details on the Choral Project’s performances on Feb. 10 and 11 are \u003ca href=\"https://www.choralproject.org/categories/art-of-sound/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S6n-U2gsMBg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Opera Parallèle and SFJAZZ are teaming up to present a concert celebrating Leonard Bernstein’s 100th birthday — one of dozens of Bernstein birthday concerts we’ve enjoyed in the Bay Area since last fall. The two companies are presenting the one act opera \u003cem>Trouble in Tahiti from 1952,\u003c/em> for which Bernstein wrote both the score and libretto. Centered on the allure and despair of suburban life, \u003ci>Trouble\u003c/i> also features orchestrations and motifs that would come to life years later in \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13823290\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823290\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-800x956.jpg\" alt=\"Rene Rapier in ‘At the Statue of Venus‘ a new production from Opera Parallèle and SFJAZZ\" width=\"800\" height=\"956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-800x956.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-768x918.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-375x448.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-520x621.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696.jpg 801w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rene Rapier in ‘At the Statue of Venus‘ a new production from Opera Parallèle and SFJAZZ \u003ccite>(Photo: Steve Di Bartolomeo/Westside Studio Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bernstein began composing it on his honeymoon, yet the musical opens with a married couple bickering. It’s likely based on the the marriage of Bernstein’s parents, but it also foreshadowed the trouble to come \u003ca href=\"http://www.interlude.hk/front/leonard-bernstein-felicia-montealegrea-divided-life/\" rel=\"noopener\" target=\"_blank\">in his marriage\u003c/a> to Chilean actress Felicia Montealegre. \u003c/p>\n\u003cp>The companies are pairing \u003cem>Trouble \u003c/em>with \u003cem>At the Statue of Venus\u003c/em>, by San Francisco composer Jake Heggie and his \u003cem>Dead Man Walking\u003c/em> librettist and playwright Terence McNally. \u003ci>Venus\u003c/i> features a really long scene for piano and soprano in which an attractive, middle-aged woman waits in a museum by a statue of the Goddess of Love for a blind date. Opera Parallèle’s Creative Director Brian Staufenbiel says he sees a narrative that connects both works in which the woman from \u003cem>At the Statue of Venus \u003c/em>becomes the wife, Dinah, in \u003cem>Trouble in Tahiti\u003c/em>. \u003c/p>\n\u003cp>Don’t look for happy endings, but do expect terrific music. Details on these concerts at SFJAZZ’s Miner Hall Feb. 14-18 are \u003ca href=\"https://www.sfjazz.org/tickets/productions/celebrating-bernsteins-100th/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5OjT3uHN6PU}\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Opera Parallèle and SFJAZZ are teaming up to present a concert celebrating Leonard Bernstein’s 100th birthday — one of dozens of Bernstein birthday concerts we’ve enjoyed in the Bay Area since last fall. The two companies are presenting the one act opera \u003cem>Trouble in Tahiti from 1952,\u003c/em> for which Bernstein wrote both the score and libretto. Centered on the allure and despair of suburban life, \u003ci>Trouble\u003c/i> also features orchestrations and motifs that would come to life years later in \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13823290\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823290\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-800x956.jpg\" alt=\"Rene Rapier in ‘At the Statue of Venus‘ a new production from Opera Parallèle and SFJAZZ\" width=\"800\" height=\"956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-800x956.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-768x918.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-375x448.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-520x621.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696.jpg 801w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rene Rapier in ‘At the Statue of Venus‘ a new production from Opera Parallèle and SFJAZZ \u003ccite>(Photo: Steve Di Bartolomeo/Westside Studio Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bernstein began composing it on his honeymoon, yet the musical opens with a married couple bickering. It’s likely based on the the marriage of Bernstein’s parents, but it also foreshadowed the trouble to come \u003ca href=\"http://www.interlude.hk/front/leonard-bernstein-felicia-montealegrea-divided-life/\" rel=\"noopener\" target=\"_blank\">in his marriage\u003c/a> to Chilean actress Felicia Montealegre. \u003c/p>\n\u003cp>The companies are pairing \u003cem>Trouble \u003c/em>with \u003cem>At the Statue of Venus\u003c/em>, by San Francisco composer Jake Heggie and his \u003cem>Dead Man Walking\u003c/em> librettist and playwright Terence McNally. \u003ci>Venus\u003c/i> features a really long scene for piano and soprano in which an attractive, middle-aged woman waits in a museum by a statue of the Goddess of Love for a blind date. Opera Parallèle’s Creative Director Brian Staufenbiel says he sees a narrative that connects both works in which the woman from \u003cem>At the Statue of Venus \u003c/em>becomes the wife, Dinah, in \u003cem>Trouble in Tahiti\u003c/em>. \u003c/p>\n\u003cp>Don’t look for happy endings, but do expect terrific music. Details on these concerts at SFJAZZ’s Miner Hall Feb. 14-18 are \u003ca href=\"https://www.sfjazz.org/tickets/productions/celebrating-bernsteins-100th/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5OjT3uHN6PU}\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Mysteries of Harold Pinter's 'Birthday Party' Change Over Time",
"headTitle": "The Mysteries of Harold Pinter’s ‘Birthday Party’ Change Over Time | KQED",
"content": "\u003cp>Harold Pinter’s \u003cem>The Birthday Party\u003c/em>, receiving a slick and professional production at the \u003ca href=\"http://www.act-sf.org\">American Conservatory Theater\u003c/a> under Carey Perloff’s direction through Feb. 4, is a curious cultural artifact. Premiering at the Cambridge Arts Theater in 1958, the play snaked its way to a London opening that turned into one of those disastrous cause célèbres that artists can only dream of.\u003c/p>\n\u003cp>Closing after eight performances to dismissive reviews, the play’s reputation was buoyed and bolstered by Harold Hobson’s after-closing take in \u003cem>The Sunday Times\u003c/em>, proclaiming that Pinter “possesses the most original, disturbing and arresting talent in theatrical London.” By 1960, \u003cem>The Birthday Party\u003c/em> was broadcast on British television to great acclaim, and Pinter was well on his way to major playwright status and a \u003ca href=\"https://www.nobelprize.org/nobel_prizes/literature/laureates/2005/\">Stockholm christening\u003c/a>.\u003c/p>\n\u003cp>Pinter was the revolution that mid-century audiences wanted — and for almost 60 years he, along with Samuel Beckett, has stood for an ongoing theatrical revolt against conventional meaning. \u003cem>The Birthday Party\u003c/em> is a wonderful, early career case for how simple and allusive his plays can be.\u003c/p>\n\u003cfigure id=\"attachment_13819731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-800x451.jpg\" alt=\"Be careful what gifts you accept Stanley (Firdous Bamji), even if they're from your landlady Peg (Judith Ivey). Everything's dangerous in Harold Pinter's 'The Birthday Party' at ACT.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100.jpg 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Be careful what gifts you accept, Stanley (Firdous Bamji), even if they’re from your landlady Peg (Judith Ivey). Everything’s dangerous in Harold Pinter’s ‘The Birthday Party’ at ACT. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stanley Webber (played by Firdous Bamji), a former pianist who is wasting away his days at a decaying, seaside boarding house, suddenly finds himself subject to an investigation by a couple of maybe-gangsters — McCann and Goldberg (Marco Barricelli and Scott Wentworth). And to top it off, they and his elderly landlady Meg (Judith Ivey), who’s more than a little smitten with Stanley, are intent on throwing him an unwanted birthday party.\u003c/p>\n\u003cp>The play comes to a rather violent conclusion, though not a particularly enlightening one. We never know what’s motivating these characters, though they all seem terrified of unknown forces, even the villains. And so we might ask in these tense times, where many of us dream of political, aesthetic, and cultural change, just what the value is of Pinter’s assault on sense.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As strangely as the play ends, its beginning is rooted in a rather mundane realism. You can feel the stench of the everyday in the boarding house of Meg and her husband Petey (Dan Hiatt); cornflakes, newspapers, moldy tea, fried bread. It’s a stultifying scene and one any sensible person would try to escape.\u003c/p>\n\u003cfigure id=\"attachment_13819736\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819736\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-800x452.jpg\" alt=\"Petey (Dan Hiatt) and Meg (Judith Ivey) go through the breakfast routine in Harold Pinter's 'The Birthday Party' at ACT.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Petey (Dan Hiatt) and Meg (Judith Ivey) go through the breakfast routine in Harold Pinter’s ‘The Birthday Party’ at ACT. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here is the British drawing-room farce gone to seed, the implosion of the delicate, domestic dramas of Terrance Rattigan, and the advent of mysteries that Agatha Christie (whose \u003ca href=\"https://en.wikipedia.org/wiki/The_Mousetrap\">\u003cem>Mousetrap\u003c/em>\u003c/a> was already up and running in 1958, and raking in the dough) could never solve. Pinter has his eye on the cosmic and the unanswerable, but he starts in the dirt, and that’s always promising.\u003c/p>\n\u003cp>Perloff’s production trades in the initial grime for a dithering cuteness. Nina Ball’s set is a little too clean and unworn for what Pinter’s after, and Judith Ivey’s Meg too much of a winning performance. She’s absolutely expert in her delivery, but she misses what the script calls for: Meg’s disgusting personification of her environment, a seedy slattern on the make who can’t keep her hands off her one boarder. There’s a nasty edge to Pinter’s work that the ACT production dulls at the onset. Why produce \u003cem>The Birthday Party\u003c/em> if you aren’t going to wallow with the pigs?\u003c/p>\n\u003cp>And yet there are pleasures to be had with both play and production: longtime ACT stalwart Marco Barricelli and a dandy Scott Wentworth make for a terrific McCann and Goldberg, especially in the play’s rousing second act that ends in the birthday party Stanley wishes to avoid.\u003c/p>\n\u003cfigure id=\"attachment_13819733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819733\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-800x450.jpg\" alt=\"McCann (Marco Barricelli) and Goldberg (Scott Wentworth) give Stanley (Firdou Bamji) the once over in Harold Pinter's 'The Birthday Party' at ACT.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">McCann (Marco Barricelli) and Goldberg (Scott Wentworth) give Stanley (Firdou Bamji) the once-over in Harold Pinter’s ‘The Birthday Party’ at ACT. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watch the way Barricelli sings McCann’s Irish love song, or methodically tears a newspaper to pieces, or tries to think. The actions (both of character and actor) are so specific and self-contained that they possess a sense of reason and logic. We don’t worry about what we don’t understand — like Meg and Petey’s cheap decor, we simply accept the overwhelming reality before us.\u003c/p>\n\u003cp>One can get lost in the joy that Wentworth’s Goldberg takes in playing both psychological and actual games. He practically waltzes through a round of Blind Man’s Bluff, while simultaneously torturing Stanley and seducing a young woman. His eyes are a riot of childish opportunities, as if the holiday spirit had taken a shine to evil. Whatever his motives, he’s dazzlingly alive, and there’s nothing meaningless about that.\u003c/p>\n\u003cp>Faced with precise action and an abundance of detail, we can accept a world filled with unexplained mysteries. It’s when that loss of sense becomes an idea, a philosophical stance, or worse, an aesthetic style that we should revolt and ask real questions. It’s not surprising that McCann and Goldberg reduce Stanley to a grunting, spastic mute; the problem is that the play rushes and forces its way to that conclusion.\u003c/p>\n\u003cfigure id=\"attachment_13819734\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819734\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-800x450.jpg\" alt=\"Goldberg (Scott Wentworth) dances around Peg (Judith Ivey) with the spirit of the devil in his eye during a game of Blind Man's Bluff in Harold Pinter's 'The Birthday Party' at ACT.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Goldberg (Scott Wentworth) dances around Peg (Judith Ivey) with the spirit of the devil in his eye during a game of Blind Man’s Bluff in Harold Pinter’s ‘The Birthday Party’ at ACT. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the third act, Pinter rejects the richness and precision of the first two, and indulges in a surface absurdity that actively eschews sense. Whatever was motivating these characters (and I’m not saying we need to know) is lost to a series of arbitrary and random stabs at high style absurdist drivel. The whole thing collapses far before Stanley does.\u003c/p>\n\u003cp>A less reverential production, such as \u003ca href=\"https://www.nytimes.com/2016/02/13/theater/review-the-room-a-pinter-play-that-wont-be-onstage-for-long.html\">The Wooster Group’s\u003c/a> take on Pinter’s \u003cem>The Room\u003c/em>, might have found a more potent third-act solution. Instead, what we get here are the limits of illogic and the remains of a 60-year revolution. It’s a fine enough presentation as the status quo goes, but you just feel there’s so much more to be had — in the world, and in Pinter.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cem>The Birthday Party\u003c/em> runs through Sunday, Feb. 4 at the Geary Theater in San Francisco. For tickets and information, \u003ca href=\"http://www.act-sf.org\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Harold Pinter’s \u003cem>The Birthday Party\u003c/em>, receiving a slick and professional production at the \u003ca href=\"http://www.act-sf.org\">American Conservatory Theater\u003c/a> under Carey Perloff’s direction through Feb. 4, is a curious cultural artifact. Premiering at the Cambridge Arts Theater in 1958, the play snaked its way to a London opening that turned into one of those disastrous cause célèbres that artists can only dream of.\u003c/p>\n\u003cp>Closing after eight performances to dismissive reviews, the play’s reputation was buoyed and bolstered by Harold Hobson’s after-closing take in \u003cem>The Sunday Times\u003c/em>, proclaiming that Pinter “possesses the most original, disturbing and arresting talent in theatrical London.” By 1960, \u003cem>The Birthday Party\u003c/em> was broadcast on British television to great acclaim, and Pinter was well on his way to major playwright status and a \u003ca href=\"https://www.nobelprize.org/nobel_prizes/literature/laureates/2005/\">Stockholm christening\u003c/a>.\u003c/p>\n\u003cp>Pinter was the revolution that mid-century audiences wanted — and for almost 60 years he, along with Samuel Beckett, has stood for an ongoing theatrical revolt against conventional meaning. \u003cem>The Birthday Party\u003c/em> is a wonderful, early career case for how simple and allusive his plays can be.\u003c/p>\n\u003cfigure id=\"attachment_13819731\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819731\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-800x451.jpg\" alt=\"Be careful what gifts you accept Stanley (Firdous Bamji), even if they're from your landlady Peg (Judith Ivey). Everything's dangerous in Harold Pinter's 'The Birthday Party' at ACT.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty2-e1516659717100.jpg 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Be careful what gifts you accept, Stanley (Firdous Bamji), even if they’re from your landlady Peg (Judith Ivey). Everything’s dangerous in Harold Pinter’s ‘The Birthday Party’ at ACT. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Stanley Webber (played by Firdous Bamji), a former pianist who is wasting away his days at a decaying, seaside boarding house, suddenly finds himself subject to an investigation by a couple of maybe-gangsters — McCann and Goldberg (Marco Barricelli and Scott Wentworth). And to top it off, they and his elderly landlady Meg (Judith Ivey), who’s more than a little smitten with Stanley, are intent on throwing him an unwanted birthday party.\u003c/p>\n\u003cp>The play comes to a rather violent conclusion, though not a particularly enlightening one. We never know what’s motivating these characters, though they all seem terrified of unknown forces, even the villains. And so we might ask in these tense times, where many of us dream of political, aesthetic, and cultural change, just what the value is of Pinter’s assault on sense.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As strangely as the play ends, its beginning is rooted in a rather mundane realism. You can feel the stench of the everyday in the boarding house of Meg and her husband Petey (Dan Hiatt); cornflakes, newspapers, moldy tea, fried bread. It’s a stultifying scene and one any sensible person would try to escape.\u003c/p>\n\u003cfigure id=\"attachment_13819736\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819736\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-800x452.jpg\" alt=\"Petey (Dan Hiatt) and Meg (Judith Ivey) go through the breakfast routine in Harold Pinter's 'The Birthday Party' at ACT.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_009-e1516661049896.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Petey (Dan Hiatt) and Meg (Judith Ivey) go through the breakfast routine in Harold Pinter’s ‘The Birthday Party’ at ACT. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here is the British drawing-room farce gone to seed, the implosion of the delicate, domestic dramas of Terrance Rattigan, and the advent of mysteries that Agatha Christie (whose \u003ca href=\"https://en.wikipedia.org/wiki/The_Mousetrap\">\u003cem>Mousetrap\u003c/em>\u003c/a> was already up and running in 1958, and raking in the dough) could never solve. Pinter has his eye on the cosmic and the unanswerable, but he starts in the dirt, and that’s always promising.\u003c/p>\n\u003cp>Perloff’s production trades in the initial grime for a dithering cuteness. Nina Ball’s set is a little too clean and unworn for what Pinter’s after, and Judith Ivey’s Meg too much of a winning performance. She’s absolutely expert in her delivery, but she misses what the script calls for: Meg’s disgusting personification of her environment, a seedy slattern on the make who can’t keep her hands off her one boarder. There’s a nasty edge to Pinter’s work that the ACT production dulls at the onset. Why produce \u003cem>The Birthday Party\u003c/em> if you aren’t going to wallow with the pigs?\u003c/p>\n\u003cp>And yet there are pleasures to be had with both play and production: longtime ACT stalwart Marco Barricelli and a dandy Scott Wentworth make for a terrific McCann and Goldberg, especially in the play’s rousing second act that ends in the birthday party Stanley wishes to avoid.\u003c/p>\n\u003cfigure id=\"attachment_13819733\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819733\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-800x450.jpg\" alt=\"McCann (Marco Barricelli) and Goldberg (Scott Wentworth) give Stanley (Firdou Bamji) the once over in Harold Pinter's 'The Birthday Party' at ACT.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ACT_Birthday_129-e1516660088375.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">McCann (Marco Barricelli) and Goldberg (Scott Wentworth) give Stanley (Firdou Bamji) the once-over in Harold Pinter’s ‘The Birthday Party’ at ACT. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watch the way Barricelli sings McCann’s Irish love song, or methodically tears a newspaper to pieces, or tries to think. The actions (both of character and actor) are so specific and self-contained that they possess a sense of reason and logic. We don’t worry about what we don’t understand — like Meg and Petey’s cheap decor, we simply accept the overwhelming reality before us.\u003c/p>\n\u003cp>One can get lost in the joy that Wentworth’s Goldberg takes in playing both psychological and actual games. He practically waltzes through a round of Blind Man’s Bluff, while simultaneously torturing Stanley and seducing a young woman. His eyes are a riot of childish opportunities, as if the holiday spirit had taken a shine to evil. Whatever his motives, he’s dazzlingly alive, and there’s nothing meaningless about that.\u003c/p>\n\u003cp>Faced with precise action and an abundance of detail, we can accept a world filled with unexplained mysteries. It’s when that loss of sense becomes an idea, a philosophical stance, or worse, an aesthetic style that we should revolt and ask real questions. It’s not surprising that McCann and Goldberg reduce Stanley to a grunting, spastic mute; the problem is that the play rushes and forces its way to that conclusion.\u003c/p>\n\u003cfigure id=\"attachment_13819734\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819734\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-800x450.jpg\" alt=\"Goldberg (Scott Wentworth) dances around Peg (Judith Ivey) with the spirit of the devil in his eye during a game of Blind Man's Bluff in Harold Pinter's 'The Birthday Party' at ACT.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/BirthdayParty4-e1516660410786.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Goldberg (Scott Wentworth) dances around Peg (Judith Ivey) with the spirit of the devil in his eye during a game of Blind Man’s Bluff in Harold Pinter’s ‘The Birthday Party’ at ACT. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the third act, Pinter rejects the richness and precision of the first two, and indulges in a surface absurdity that actively eschews sense. Whatever was motivating these characters (and I’m not saying we need to know) is lost to a series of arbitrary and random stabs at high style absurdist drivel. The whole thing collapses far before Stanley does.\u003c/p>\n\u003cp>A less reverential production, such as \u003ca href=\"https://www.nytimes.com/2016/02/13/theater/review-the-room-a-pinter-play-that-wont-be-onstage-for-long.html\">The Wooster Group’s\u003c/a> take on Pinter’s \u003cem>The Room\u003c/em>, might have found a more potent third-act solution. Instead, what we get here are the limits of illogic and the remains of a 60-year revolution. It’s a fine enough presentation as the status quo goes, but you just feel there’s so much more to be had — in the world, and in Pinter.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cem>The Birthday Party\u003c/em> runs through Sunday, Feb. 4 at the Geary Theater in San Francisco. For tickets and information, \u003ca href=\"http://www.act-sf.org\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "ACT's New Artistic Leader Shares Vision for Flagship Bay Area Theater",
"headTitle": "ACT’s New Artistic Leader Shares Vision for Flagship Bay Area Theater | KQED",
"content": "\u003cp>This week, the American Conservatory Theater (A.C.T.) hired a new artistic director. Pam MacKinnon comes to San Francisco with a slew of Broadway credits and accolades — including a Tony Award — to her name. KQED caught up with her at A.C.T.’s office in downtown San Francisco the day after the appointment was announced to find out more about the director’s vision for the Bay Area’s flagship theater company.\u003c/p>\n\u003cp>[contextly_sidebar id=”YzUpb1ornxz5VYDAJVqoKH6hyNZxQ5u5″]\u003c/p>\n\u003cp>\u003cstrong> You have a powerful career in New York with many Broadway credits. Why does coming to San Francisco seem like a good career move for you at this stage?\u003c/strong>\u003c/p>\n\u003cp>I’ve always been a freelance director. I’ve never been attached to an institution and I’ve thought about it for a number of years. When the opportunity at A.C.T. came up, it struck me as an interesting thing to pursue because I am very interested in moving beyond simply thinking about my own work. I want to continue my own work, but I don’t want that to simply be what I do. I want to have the opportunity to think beyond my own rehearsal hall, to make marriages with great artists, to think about social justice, to become a more politically engaged person in a community as an artist telling stories. That’s what an institution can afford.\u003c/p>\n\u003cp>\u003cstrong>But why A.C.T.? Why San Francisco? A lot of people consider this to be a bit of a theatrical backwater.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oh, I don’t consider it a backwater at all. There are so many smaller companies in addition to A.C.T. — Berkeley Rep and TheatreWorks that are producing great work, work with playwrights that I feel very close to. And it’s a scene that’s on the rise. A.C.T. is part of that. A.C.T. is also a flagship regional theater with an incredible 50-year-plus history. It has the Geary Theater, which is that traditional, big-bones, “Broadway” house that I’ve been directing in these last six years with my Broadway career. So that feels like a home base. That’s something that I continue to want to explore. What are the stories for those big rooms? And then to also have these smaller, newer spaces at the Strand, which are just ripe with potential. And how do those spaces all then talk to each other? It feels like a very exciting time for this theater and San Francisco.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Acceptance Speech: Pam MacKinnon (2013)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/IN16XLBwFTk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>What would you say are your two or three biggest priorities?\u003c/strong>\u003c/p>\n\u003cp>I’m already in the throes of season programming. Carey [Perloff, the outgoing artistic director] and I are programming the next season together. So that’s already started, me hitting the ground running. I also really want to understand a bit more, learn a bit more. This is an amazing organization that in addition to what they put on their stages, has an MFA training program, a conservatory program, a young conservatory program, a commissioning wing, and an education and community outreach program. It’s just this multifaceted, gigantic organization that it’s my turn to dig into. I’m calling this moment a “listening tour” where I get to go in as the new person and at times ask the naive questions, which I think an organization that has been sort of dealing with the day-to-day sometimes forgets to ask. Like, “what is the umbrella?” “What is the bird’s eye view?” “How does this actually relate to our mission statement?” And I think this is a crucial time to relate back to the mission statement.\u003c/p>\n\u003cp>\u003cstrong>Presumably listening is something you will continue to do beyond your initial “listening tour.” How long do you expect this initial listening period to last?\u003c/strong>\u003c/p>\n\u003cp>How can I know? I become the artistic director on July 1. Of course I will continue to listen. But I am the artistic leader of this organization. So at a certain point, it’s not about not listening anymore, but it’s actually about actualizing things and putting things into practice.\u003c/p>\n\u003cp>\u003cstrong>And do you have a sense of what some of those things might be?\u003c/strong>\u003c/p>\n\u003cp>No.\u003c/p>\n\u003cp>\u003cstrong>What about some of the actual artists and plays you’re thinking about? What work might we expect to see?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13819922\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819922\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-800x1200.jpg\" alt=\"Pam MacKinnon photographed at the New York Times studio in New York in 2013. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pam MacKinnon photographed at the New York Times’ studio in New York in 2013. \u003ccite>(Photo: Chad Batka )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s way too early to get super specific. I certainly come from a background of new plays as well as American classics. Carey and I are both interested in plays that have interesting language, that use language as action. So that will continue. In some respects I have much more sort of a big experience in the American, “big-bone” plays as well as a big interest in new plays. So expect more of that than what has been on A.C.T.’s stages in the last few years.\u003c/p>\n\u003cp>\u003cstrong>So will we see more of playwrights you’ve championed in the past, like Edward Albee and Itamar Moses for example?\u003c/strong>\u003c/p>\n\u003cp>Absolutely, and Bruce Norris. I’d love to get Bruce back here, as well as younger writers. I have a longstanding relationship with a downtown New York company called Clubbed Thumb, and want to continue to support younger writers. Also, you think of the Strand perhaps as, “that’s where the new plays belong.” I’m also really interested in getting writers to think of the Geary as a place for a new play, and think about writing a play that can survive in the 1,000-seat room. Plays used to be written with that in mind. Some plays shouldn’t be put into that space, but others should be there, and I want to encourage writers to write for the Geary as well as the Strand.\u003c/p>\n\u003cp>\u003cstrong>That strikes me as a huge risk, because the Geary is such a huge space. Unless you’re talking about a playwright with the track record and brand recognition of Edward Albee, I imagine it would be hard to fill. Even Broadway theaters can’t sell plays anymore.\u003c/strong>\u003c/p>\n\u003cp>But the gift of the Geary is also that it’s only a four-and-a-half-week run. Broadway has a very particular model. It’s a very different world.\u003c/p>\n\u003cfigure id=\"attachment_13819927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/AM1-800x532.jpg\" alt=\"A scene from Pam MacKinnon's world premiere production of 'Amélie' at Berkeley Repertory Theatre. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Pam MacKinnon’s world premiere production of ‘Amélie’ at Berkeley Repertory Theatre. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What would you say, from where you’re standing now, seem to be the biggest challenges you face going forward with this new gig?\u003c/strong>\u003c/p>\n\u003cp>It’s challenges and opportunities. Programming the Geary is hard. That’s a challenge. As is bringing new audiences into the fold. The tech industry and tech employees tend not to be that interested in live theater — well, why not? What are some stories that maybe will bring them in and make them then interested in other stories? I don’t think it’s about putting stories about people who work in tech on stage. What excites me about theater is seeing stuff that I don’t immediately relate to. And then all of a sudden you’re in a story that is at once so personal and universal you get sucked in. What are some stories that can be gateway introductions to hook people?\u003c/p>\n\u003cp>\u003cstrong>For example?\u003c/strong>\u003c/p>\n\u003cp>A.C.T.’s associate artistic director Andy Donald and I have talked a lot about sports plays. I’ve been developing a sports play with [playwright] Lydia Diamond. It’s a play about this woman, Toni Stone, who was a longtime resident of San Francisco and then Oakland. She was the first woman to play baseball in the Negro Leagues in the late 1940s. Lydia and I have been in development of this play for probably five years. It’s an amazing story of an amazing woman that should be told in the Bay Area.\u003c/p>\n\u003cp>\u003cstrong>A.C.T. has a long, standout legacy of having a resident company of actors. The resident company doesn’t exist at A.C.T. these days. What are your views on resident companies? Do you think this will be part of your focus going forward?\u003c/strong>\u003c/p>\n\u003cp>There is an incredible talent pool in the Bay Area that I want to get to know. But moving forward the next couple years, I do not see A.C.T. reinstating its core acting company. There’s so much stuff going on, that would be an addition as opposed to a deepening of what is already here.\u003c/p>\n\u003cp>\u003cstrong>Are you still living in New York or have you moved yet?\u003c/strong>\u003c/p>\n\u003cp>I still have a lot of commitments in New York and am directing a show in the spring, prior to coming out here. My partner, actor John Procaccino, and I decided to take the pressure off a little bit. And so instead of moving to San Francisco and packing everything up and immediately throwing a dart or hanging out with a real estate agent and seeing a ton of places, we’re going to AirBnB it for a little while. We’d like to learn about the city before making a crazy commitment.\u003c/p>\n\u003cp>\u003cstrong>That’s smart. One last question: what are you most excited about beyond the job stuff?\u003c/strong>\u003c/p>\n\u003cp>I’m really looking forward to a chapter in my life where I am minutes away from awe-inspiring natural beauty. San Francisco has that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, the American Conservatory Theater (A.C.T.) hired a new artistic director. Pam MacKinnon comes to San Francisco with a slew of Broadway credits and accolades — including a Tony Award — to her name. KQED caught up with her at A.C.T.’s office in downtown San Francisco the day after the appointment was announced to find out more about the director’s vision for the Bay Area’s flagship theater company.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong> You have a powerful career in New York with many Broadway credits. Why does coming to San Francisco seem like a good career move for you at this stage?\u003c/strong>\u003c/p>\n\u003cp>I’ve always been a freelance director. I’ve never been attached to an institution and I’ve thought about it for a number of years. When the opportunity at A.C.T. came up, it struck me as an interesting thing to pursue because I am very interested in moving beyond simply thinking about my own work. I want to continue my own work, but I don’t want that to simply be what I do. I want to have the opportunity to think beyond my own rehearsal hall, to make marriages with great artists, to think about social justice, to become a more politically engaged person in a community as an artist telling stories. That’s what an institution can afford.\u003c/p>\n\u003cp>\u003cstrong>But why A.C.T.? Why San Francisco? A lot of people consider this to be a bit of a theatrical backwater.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oh, I don’t consider it a backwater at all. There are so many smaller companies in addition to A.C.T. — Berkeley Rep and TheatreWorks that are producing great work, work with playwrights that I feel very close to. And it’s a scene that’s on the rise. A.C.T. is part of that. A.C.T. is also a flagship regional theater with an incredible 50-year-plus history. It has the Geary Theater, which is that traditional, big-bones, “Broadway” house that I’ve been directing in these last six years with my Broadway career. So that feels like a home base. That’s something that I continue to want to explore. What are the stories for those big rooms? And then to also have these smaller, newer spaces at the Strand, which are just ripe with potential. And how do those spaces all then talk to each other? It feels like a very exciting time for this theater and San Francisco.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Acceptance Speech: Pam MacKinnon (2013)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/IN16XLBwFTk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>What would you say are your two or three biggest priorities?\u003c/strong>\u003c/p>\n\u003cp>I’m already in the throes of season programming. Carey [Perloff, the outgoing artistic director] and I are programming the next season together. So that’s already started, me hitting the ground running. I also really want to understand a bit more, learn a bit more. This is an amazing organization that in addition to what they put on their stages, has an MFA training program, a conservatory program, a young conservatory program, a commissioning wing, and an education and community outreach program. It’s just this multifaceted, gigantic organization that it’s my turn to dig into. I’m calling this moment a “listening tour” where I get to go in as the new person and at times ask the naive questions, which I think an organization that has been sort of dealing with the day-to-day sometimes forgets to ask. Like, “what is the umbrella?” “What is the bird’s eye view?” “How does this actually relate to our mission statement?” And I think this is a crucial time to relate back to the mission statement.\u003c/p>\n\u003cp>\u003cstrong>Presumably listening is something you will continue to do beyond your initial “listening tour.” How long do you expect this initial listening period to last?\u003c/strong>\u003c/p>\n\u003cp>How can I know? I become the artistic director on July 1. Of course I will continue to listen. But I am the artistic leader of this organization. So at a certain point, it’s not about not listening anymore, but it’s actually about actualizing things and putting things into practice.\u003c/p>\n\u003cp>\u003cstrong>And do you have a sense of what some of those things might be?\u003c/strong>\u003c/p>\n\u003cp>No.\u003c/p>\n\u003cp>\u003cstrong>What about some of the actual artists and plays you’re thinking about? What work might we expect to see?\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13819922\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819922\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-800x1200.jpg\" alt=\"Pam MacKinnon photographed at the New York Times studio in New York in 2013. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/PM_Credit_Chad-Batka.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pam MacKinnon photographed at the New York Times’ studio in New York in 2013. \u003ccite>(Photo: Chad Batka )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s way too early to get super specific. I certainly come from a background of new plays as well as American classics. Carey and I are both interested in plays that have interesting language, that use language as action. So that will continue. In some respects I have much more sort of a big experience in the American, “big-bone” plays as well as a big interest in new plays. So expect more of that than what has been on A.C.T.’s stages in the last few years.\u003c/p>\n\u003cp>\u003cstrong>So will we see more of playwrights you’ve championed in the past, like Edward Albee and Itamar Moses for example?\u003c/strong>\u003c/p>\n\u003cp>Absolutely, and Bruce Norris. I’d love to get Bruce back here, as well as younger writers. I have a longstanding relationship with a downtown New York company called Clubbed Thumb, and want to continue to support younger writers. Also, you think of the Strand perhaps as, “that’s where the new plays belong.” I’m also really interested in getting writers to think of the Geary as a place for a new play, and think about writing a play that can survive in the 1,000-seat room. Plays used to be written with that in mind. Some plays shouldn’t be put into that space, but others should be there, and I want to encourage writers to write for the Geary as well as the Strand.\u003c/p>\n\u003cp>\u003cstrong>That strikes me as a huge risk, because the Geary is such a huge space. Unless you’re talking about a playwright with the track record and brand recognition of Edward Albee, I imagine it would be hard to fill. Even Broadway theaters can’t sell plays anymore.\u003c/strong>\u003c/p>\n\u003cp>But the gift of the Geary is also that it’s only a four-and-a-half-week run. Broadway has a very particular model. It’s a very different world.\u003c/p>\n\u003cfigure id=\"attachment_13819927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/AM1-800x532.jpg\" alt=\"A scene from Pam MacKinnon's world premiere production of 'Amélie' at Berkeley Repertory Theatre. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/AM1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Pam MacKinnon’s world premiere production of ‘Amélie’ at Berkeley Repertory Theatre. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What would you say, from where you’re standing now, seem to be the biggest challenges you face going forward with this new gig?\u003c/strong>\u003c/p>\n\u003cp>It’s challenges and opportunities. Programming the Geary is hard. That’s a challenge. As is bringing new audiences into the fold. The tech industry and tech employees tend not to be that interested in live theater — well, why not? What are some stories that maybe will bring them in and make them then interested in other stories? I don’t think it’s about putting stories about people who work in tech on stage. What excites me about theater is seeing stuff that I don’t immediately relate to. And then all of a sudden you’re in a story that is at once so personal and universal you get sucked in. What are some stories that can be gateway introductions to hook people?\u003c/p>\n\u003cp>\u003cstrong>For example?\u003c/strong>\u003c/p>\n\u003cp>A.C.T.’s associate artistic director Andy Donald and I have talked a lot about sports plays. I’ve been developing a sports play with [playwright] Lydia Diamond. It’s a play about this woman, Toni Stone, who was a longtime resident of San Francisco and then Oakland. She was the first woman to play baseball in the Negro Leagues in the late 1940s. Lydia and I have been in development of this play for probably five years. It’s an amazing story of an amazing woman that should be told in the Bay Area.\u003c/p>\n\u003cp>\u003cstrong>A.C.T. has a long, standout legacy of having a resident company of actors. The resident company doesn’t exist at A.C.T. these days. What are your views on resident companies? Do you think this will be part of your focus going forward?\u003c/strong>\u003c/p>\n\u003cp>There is an incredible talent pool in the Bay Area that I want to get to know. But moving forward the next couple years, I do not see A.C.T. reinstating its core acting company. There’s so much stuff going on, that would be an addition as opposed to a deepening of what is already here.\u003c/p>\n\u003cp>\u003cstrong>Are you still living in New York or have you moved yet?\u003c/strong>\u003c/p>\n\u003cp>I still have a lot of commitments in New York and am directing a show in the spring, prior to coming out here. My partner, actor John Procaccino, and I decided to take the pressure off a little bit. And so instead of moving to San Francisco and packing everything up and immediately throwing a dart or hanging out with a real estate agent and seeing a ton of places, we’re going to AirBnB it for a little while. We’d like to learn about the city before making a crazy commitment.\u003c/p>\n\u003cp>\u003cstrong>That’s smart. One last question: what are you most excited about beyond the job stuff?\u003c/strong>\u003c/p>\n\u003cp>I’m really looking forward to a chapter in my life where I am minutes away from awe-inspiring natural beauty. San Francisco has that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>KQED Youth Media Manager Ariana Proehl is back as co-host to bring some hipness to the Do List this week. The real challenge was pruning down the list! I can’t remember a late January with more enticing shows to choose from. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>Jan 26–31:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/whats-old-is-new-again-with-ladysmith-black-mambazo/\" target=\"_blank\" rel=\"noopener\">Ladysmith Black Mambazo high-kicks its way back to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 4–March 3:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/at-the-intersection-of-art-and-vinyl/\" target=\"_blank\" rel=\"noopener\">The Fraenkel Gallery hangs a show of artful record album covers — and it’s free\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26 and Feb. 3 and 4: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/circa-il-ritorno/\" target=\"_blank\" rel=\"noopener\">Circa melds daring circus, opera, and dance to tell a story about a refugee’s search for home\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/dance-and-theater-join-in-a-healing-ritual/\" target=\"_blank\" rel=\"noopener\">The next episode of a dance and theater series about sex trafficking and displacement in Oakland\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 25–Feb 18 and March 7–April 1: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/a-skeleton-crew-battles-for-a-future-in-a-detroit-auto-plant/\" target=\"_blank\" rel=\"noopener\">A skeleton crew tries to save their hopes for a future as Detroit’s last auto plant faces a shutdown\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/stew-develops-a-show-based-on-the-ideas-of-james-baldwin/\" target=\"_blank\" rel=\"noopener\">Stew invokes the ideas and memory of writer James Baldwin in a musical tribute\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 6–7: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/new-sounds-with-a-powerhouse-brittany-howard-at-the-mic/\" target=\"_blank\" rel=\"noopener\">Super folk-rock trio Bermuda Triangle make gorgeous harmonies seem effortless\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819995\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg\" alt=\"The Do List's Cy and Ariana check out the 'Art and Vinyl' show at the Freaenkel Gallery\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List’s Cy and Ariana check out the ‘Art and Vinyl’ show at the Freaenkel Gallery. \u003ccite>(Photo: Rebecca Robertson/Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 25–Feb 18 and March 7–April 1: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/a-skeleton-crew-battles-for-a-future-in-a-detroit-auto-plant/\" target=\"_blank\" rel=\"noopener\">A skeleton crew tries to save their hopes for a future as Detroit’s last auto plant faces a shutdown\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/stew-develops-a-show-based-on-the-ideas-of-james-baldwin/\" target=\"_blank\" rel=\"noopener\">Stew invokes the ideas and memory of writer James Baldwin in a musical tribute\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 6–7: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/new-sounds-with-a-powerhouse-brittany-howard-at-the-mic/\" target=\"_blank\" rel=\"noopener\">Super folk-rock trio Bermuda Triangle make gorgeous harmonies seem effortless\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819995\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg\" alt=\"The Do List's Cy and Ariana check out the 'Art and Vinyl' show at the Freaenkel Gallery\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List’s Cy and Ariana check out the ‘Art and Vinyl’ show at the Freaenkel Gallery. \u003ccite>(Photo: Rebecca Robertson/Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Theater director Ellen Sebastian Chang and dance maker Amara Tabor Smith (Deep Water Dance Theater) have mixed theater, dance, ritual healing and a bit of social work in a series of shows called \u003cem>\u003ca href=\"http://www.deepwatersdance.com/portfolio/housefullofblackwomen-2/\" rel=\"noopener\" target=\"_blank\">House/Full of BlackWomen\u003c/a>\u003c/em>, addressing issues of displacement, oppression, and sex trafficking in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13819899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-800x539.jpg\" alt=\"A scene from a recent episode of 'House/Full of BlackWomen'\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Housefull-of-Black-WOmen-2-Robbie-Sweeney-e1516828900727.jpg 1747w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from a recent episode of ‘House/Full of BlackWomen.’ \u003ccite>(Photo: Robbie Sweeney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This newest episode, \u003cem>passing/through/the great/middle\u003c/em>, invokes the Yoruba Orishas (a pantheon of gods from Africa who came to the new world with African slaves) as it tells a story about displacement and migration from Oakland. Ellen Sebastian Chang tells us that the show will take the audience on a journey too, from International Boulevard into the theater and back onto the street. “The audience is moving so they get this feeling also of being constantly in a state of migration of motion,” Chang said, “the difference between moving by choice and moving by force.”\u003c/p>\n\u003cp>\u003cem>passing/through/the great/middle\u003c/em> runs Feb 2 and 3 at the Eastside Cultural Center in Oakland. \u003ca href=\"http://www.deepwatersdance.com/portfolio/housefullofblackwomen-2/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Dance and theater combine for a moving healing ritual in another episode of 'House/Full of BlackWomen.'",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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